Shi'i Themes in the art of the Timurid era with emphasis on line and Calligraphy

Abstract

The Timurids were the Turkish-Mongolian tribes that dominated the districts of Transoxania and Iran over the years (913-771 BC). The simultaneous experience of one-time and nomadic life in Alush Goghtai and Central Asia led Timur and his successors to somewhat brief familiarity with Islam and Iranian culture. For this reason, the components of Iranian identity, including Iranian art and Shia religion, were at this time an opportunity for growth and unity. The painstaking policy of the Timurid statesmen, the bondage of Shi'a with the flow of Sufism and the Shi'a's efforts, both within the Shiite and individual movements, provided a ground for the Shiite religion, especially in the social dimension, to grow more than the past. On the other hand, Iranian art and its numerous branches, especially calligraphy art, at this time are like a container that other components of Iranian identity, including the Shia religion, are its subject matter and its constituents. The art of calligraphy, known as Islamic art and sacred art, became closely related to Timurid times in two theoretical and practical aspects with the concepts, values ​​and personalities of Shi'a. Spiritual inspiration and modeling of calligraphy professors from Imam Ali's character and application of Shiite culture in the system of teacher-student of this period are theoretical aspects and writing of manuscripts, poetry and Shi'i inscriptions in practical aspect. The present study aims to explain the role of calligraphy in publishing and displaying the religious beliefs of the Timurid community on the one hand, and how this relationship with Shiite religion is related to this time. On the other hand, it seeks to study the causes of this relationship and, secondly, its features during the Timurid period. Descriptive and analytical methods will be dealt with using historical and artistic sources and documents.

Keywords

• art
• shiism
• calligraphy
• timurid